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By Annabelle Honess Roe

Animated Documentary, the 1st e-book to be released in this attention-grabbing subject, considers how animation is used as a representational method in nonfiction movie and tv and explores the methods animation expands the diversity and intensity of what documentary can convey us in regards to the world.

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Animated interview documentaries often use this approach, where a documentary soundtrack is loosely interpreted through animated visuals. The 2002 Swedish film Hidden (Gömd, Heilborn, Aronowitsch and Johansson) animates a radio interview with a young illegal immigrant. Unlike Chicago 10, this film has less concern for making the characters resemble their real-life counterparts. Similarly, It’s Like That (Southern Ladies Animation Group, 2004) animates young asylum seekers as knitted puppets of small birds.

In particular, Wollen conflated Bazin’s assertion of the ontological uniqueness of photography with the indexical sign. ’ Equally significant for documentary is the commonly held belief that ‘a photograph show us (or ought to show us) “what we would have seen if we had been there ourselves” ’(Snyder & Allen, 1975: 149). ’ (Bazin, 2005 [1967]: 11) David Rodowick (2007: 9) calls this photography’s power of analogy. These two claims for photography often become entwined. That is, by virtue of the indexical relationship with reality, photographs are forced, through the process of light from an object refracting through the camera lens and hitting film, to correspond directly with what was in front of the camera and thus what the photographic image shows us is what we would have seen ourselves.

Bazin, 2005 [1967]: 11) David Rodowick (2007: 9) calls this photography’s power of analogy. These two claims for photography often become entwined. That is, by virtue of the indexical relationship with reality, photographs are forced, through the process of light from an object refracting through the camera lens and hitting film, to correspond directly with what was in front of the camera and thus what the photographic image shows us is what we would have seen ourselves. This mutually dependent relationship of causality and analogy has maintained dominance in the interpretation of moving images, especially documentary ones.

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